And to go as far in their Excuse as we can, 'tis probable their Musick may not be altogether so exceptionable as that of the Antients. I don't say this part of the Entertainment is directly vitious, because I am not willing to Censure at Uncertainties. Those who frequent the Play-House are the most competent Judges: But this I must say, the Performances of this kind are much too fine for the Place. 'Twere to be wish'd that either the Plays were better, or the Musick worse. I'm sorry to see Art so meanly Prostituted: Atheism ought to have nothing Charming in its Retinue. 'Tis great Pity Debauchery should have the Assistance of a fine Hand, to whet the Appetite, and play it down.
Now granting the Play-House-Musick not vitious in the Composition, yet the design of it is to refresh the Idea's of the Action, to keep Time with the Poem, and be true to the Subject. For this Reason among others the Tunes are generally Airy and Gailliardizing; They are contriv'd on purpose to excite a sportive Humour, and spread a Gaity upon the Spirits. To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep. This sort of Musick warms the Passions, and unlocks the Fancy, and makes it open to Pleasure like a Flower to the Sun. It helps a Luscious Sentence to slide, drowns the Discords of Atheism, and keeps off the Aversions of Conscience. It throws a Man off his Guard, makes way for an ill Impresion, and is most Commodiously planted to do Mischief. A Lewd Play with good Musick is like a Loadstone Arm'd, it draws much stronger than before.
Now why should it be in the power of a few mercenary Hands to play People out of their Senses, to run away with their Understandings, and wind their Passions about their Fingers as they list? Musick is almost as dangerous as Gunpowder; And it may be requires looking after no less than the Press, or the Mint. 'Tis possible a Publick Regulation might not be amiss. No less a Philosopher than Plato seems to be of this Opinion. He is clearly for keeping up the old grave, and solemn way of Playing. He lays a mighty stress upon this Observation: He does not stick to affirm, that to extend the Science, and alter the Notes, is the way to have the Laws repeal'd and to unsettle the Constitution.De Repub. L. 4.[500] I suppose He imagined that if the Power of Sounds, the Temper of Constitutions, and the Diversities of Age, were well studied; If this were done, and some general Permissions formed upon the Enquiry, the Commonwealth might find their Account in't.
Tully does not carry the Speculation thus high: However, he owns it has a weight in't, and should not be overlook'd.Cic. de Leg. L. 2.[501] He denies not but that when the Musick is soft, exquisite, and airy, 'tis dangerous and ensnaring. He commends the Discipline of the ancient Greeks, for fencing against this Inconvenience. He tells us the Lacedemonians fixt the number of Strings for the Harp, by express Law. And afterwards silenc'd Timotheus,** A Famous Musician[502] and seiz'd his Harp, for having One String above publick Allowance. To return. If the English Stage is more reserv'd than the Roman in the Case above mention'd: If they have any advantage in their Instrumental Musick, they loose it in their Vocal. Their Songs are often rampantly Lewd, and Irreligious to a flaming Excess. Here you have the very Spirit and Essence of Vice drawn off strong scented, and thrown into a little Compass. Now the Antients as we have seen already were inoffensive in this respect.
To go on. As to Rankness of Language we have seen how deeply the Moderns stand charged upon the Comparison. And as for their Caressing of Libertines, their ridiculing of Vertue, their horrible Profaness, and Blasphemies, there's nothing in Antiquity can reach them.
Now were the Stage in a Condition to wipe off any of these Imputations, which They are not, there are two Things besides which would stick upon them, and [......] an ill Effect upon the Audience.
The first is their dilating so much upon the Argument of Love.
This Subject is generally treated Home, and in the most tender and passionate manner imaginable. Tis often the governing Concern: The Incidents make way, and the Plot turns upon't. As matters go, the Company expect it: And it may be the Poets can neither Write, nor Live without it. This is a cunning way enough of stealing upon the Blind Side, and Practising upon the Weakness of humane Nature. People love to see their Passions painted no less than their Persons: And like Narcissus are apt to dote on their own Image. This Bent of self Admiration recommends the Business of Amours, and engages the Inclination. And which is more, these Love-representations oftentimes call up the Spirits, and set them on work. The Play is acted over again in the Scene of Fancy, and the first Imitation becomes a Model. Love has generally a Party Within; And when the Wax is prepared, the Impression is easily made. Thus the Disease of the Stage grows Catching: It throws its own Amours among the Company, and forms these Passions when it does not find them. And when they are born before, they thrive extreamly in this Nursery. Here they seldom fail either of Grouth, or Complexion. They grow strong, and they grow Charming too. This is the best Place to recover a Languishing Amour, to rowse it from Sleep, and retrieve it from Indifference. And thus Desire becomes Absolute, and forces the Oppositions of Decency and Shame. And if the Misfortune does not go thus far, the consequences are none of the best. The Passions are up in Arms, and there's a mighty Contest between Duty, and Inclination. The Mind is over-run with Amusements, and commonly good for nothing sometime after.
I don't say the Stage Fells all before them, and disables the whole Audience: 'Tis a hard Battle where none escapes. However, Their Triumphs and their Tropheys are unspeakable. Neither need we much wonder at the Matter. They are dangerously Prepar'd for Conquest, and Empire. There's Nature, and Passion, and Life, in all the Circumstances of their Action. Their Declamation, their Mein their Gestures, and their Equipage, are very moving and significant. Now when the Subject is agreeable, a lively Representation, and a Passionate way of Expression, make wild work, and have a strange Force upon the Blood, and Temper.
And then as for the General Strains of Courtship, there can be nothing more Profane and extravagant. The Hero's Mistress is no less than his Deity. She disposes of his Reason, prescribes his Motions, and Commands his Interest. What Soveraign Respect, what Religious Address, what Idolizing Raptures are we pester'd with? Shrines and Offerings and Adorations, are nothing upon such solemn Occasions. Thus Love and Devotion, Ceremony and Worship are Confounded; And God, and his Creatures treated both alike! These Shreds of Distraction are often brought from the Play-House into Conversation: And thus the Sparks are taught to Court their Mistresses, in the same Language they say their Prayers.